with strange and bloody rites. Their traditions told that he had dwelt among them twenty years, and had taught them to cast metals, ordered fasts, and regulated the intercalations of the Tolteck year.[256] Prominent as the place is which the mythic legend of the smith-god occupied in the popular creed of the middle ages throughout the greater part of Europe, the tradition of a gifted worker in metals is doubtless of eastern origin, and far more fitly impersonates and deifies the restoration of the metallurgic arts in the primitive Bronze Period than the mere transition from bronze to iron, important as the latter change undoubtedly was. The remarkable analogy of the mythic legends of the North with the ancient Greek fable of Dædalus, has not escaped the notice of modern critics, and MM. Depping and Michel remark:--"We do not hesitate to believe that it is the history of this Greek artist, altered and disfigured, adapted to the manners and creeds of the people of the north of Europe, which has given rise to the romance of Weland." The resemblance, however, is scarcely less manifest, in many respects, to the lame smith-god Ἡφαιστος, or Vulcan; and the widely-diffused mythic fable is far too complete and unique to have been transferred directly from the Greek to the Teutonic mythology, where scarce another trace of similar correspondence is discernible. Jupiter, Mars, Hercules, Venus, Orpheus, all find their counterparts indeed, but with scarce a shadow of resemblance to Greek prototypes, in the wild Scandinavian and old German pantheon, which may reasonably excite our wonder, if we assume a Greek origin for the _Vœlundar Quida_ contained in the Edda. In the simplest form in which it is still recoverable, it is obviously overlaid with spurious additions of a later age; and when it gets into the monkish chronicles and romances of chivalry compiled in the twelfth and thirteenth centuries, the wild faith of the Norsemen is outdone by the wilder fictions of the Trouveres, and nearly all the symbolic spirit of the original disappears. Some of these even assign precise periods as the era of the northern smith. Several of the French romances mention Galand as the maker of Charlemagne's famous sword Durendal, while others describe armour forged by him and weapons inscribed with his name. But the most curious notice of this kind occurs in an English manuscript written about the time of Edward I. It contains a description of the sword of Gauvain, one of the most celebrated knights of Arthur's "Round Table," made by Galant, and having the following lines inscribed in _canello gladii_:-- "Jeo su forth trenchant e dure; Galaan me fyth par mult grant cure; Catorse anz [out] Jhesu Cristh, Quant Galaan me trempa e fyth;"